The Rep’s production of Jon Robin Baitz’s acclaimed Other Desert Citiesis revelatory in more ways than one. An intelligently scripted, expertly crafted dissection of one family’s personal relationships, confrontations and secrets, the play has been brought to the stage at the Loretto-Hilton Center in a thoroughly enthralling manner. It’s a shining example of theatre at its best, combining an exciting script with a top-notch production and cast, and I can’t say enough good things about it.

All is more than it seems with the Wyeth family on Christmas Eve, 2004. As Brooke (Celeste Ciulla), a New York-based novelist recovering from a crippling bout of depression, returns for Christmas to her parents’ swanky and modern Palm Springs mansion, she thinks she knows what everything is about in regard to her family. A staunch liberal whose politics and worldview collides with that of her aging and well-connected Republican parents (they’re old friends with “Ronnie and Nancy”, among notable old-guard conservatives), Brooke spars with them about various current events (such as the Bush administration and the Iraq war), as well as their opinions of her own personal life and goals in contrast to those of her more laid-back younger brother, a TV producer. She also has deep-seated issues regarding a major incident from her childhood that involves the suicide of her beloved older brother, who had been involved in radical anti-Vietnam war activism and had been implicated in a bombing. While Brooke prepares to publish a scathing and highly critical memoir, she is confronted with the idea that everything–and everyone–may not be as they have seemed.

This play is brilliantly constructed, in that the revelations are presented gradually, and what we see at the beginning of the play doesn’t turn out the way the audience might think, and the relationships are realistically complex. Brooke might want to see her family in black-and-white, but the shades of grey become more and more evident as the plot develops, and the characters are richly drawn. She views her mother, socialite and former screenwriter Polly (Dee Hoty), as controlling and manipulative, and her father, retired film actor-turned ambassador Lyman (Anderson Matthews) as well-meaning but out of touch. Polly’s sister and former screenwriting partner Silda (Glynis Bell), a recovering alcoholic with political leanings more in line with Brooke’s, is the much-revered “crazy aunt” who champions Brooke’s point of view, and younger brother Trip (Alex Hanna) is the somewhat passive would-be peacemaker of the group. Throughout the events of the play, Brooke (along with the audience) learns that her perceptions may not be entirely accurate, as assumptions are challenged and the truth of that long-ago incident is ultimately revealed.

With such well-realized and richly drawn characters, a first rate cast is required, and the Rep delivers. As Brooke, Ciulla is a bundle of nervous energy and determination, and her conflicting affection for and suspicion of her parents is readily apparent. The obvious bond between Brooke and Lyman, especially, is convincingly realized by both Ciulla and Matthews, and the antagonistic scenes between Brooke and Polly are equally strong and emotionally charged. Matthews presents a strong characterization of the charming and charismatic but world-weary Lyman, and Polly, as played by Hoty, is both tough-as-nails and fiercely protective. Her confrontations with both her daughter and her sister are intensely believable. Silda is also a bundle of contradictions–an irascible eccentric who can be both lovable and exasperating, and Bell is ideal in the role. Hanna, as Trip, works very well as the mediator in this volatile family, and his scenes with Ciulla in particular are compelling to watch. Overall, this is a family one could easily imagine actually existing, and all the relationships ring true.

The action is extremely well-paced and staged, with director Steven Woolf making the most of this excellent cast and visually spectacular set. I wish there were more pictures of Michael Ganio’s incredible set, because it really is a thing of beauty. There’s one on the Rep’s Facebook page here–just look at it. It’s marvelous! It provides just the right tone for this piece–the richly appointed upper class home, elegantly decorated for Christmas. The costumes by David Kay Mickelson suit the characters ideally, as well. This is a fully realized production, and all the technical elements are well thought-out and expertly realized.

One of the biggest challenges (and frustrations) of reviewing plays is being able to adequately describe a production without giving away too much of the plot. With a show like this, where a big “deep dark family secret” is at the center of the story, that challenge is even more daunting. Still, without giving away exactly what happens, I can confidently say that this is a production that provides much to think and talk about in terms of family dynamics, children’s often incomplete views of their parents’ character, how political differences affect relationships, and the idea that we should be very careful of what we assume, about long-bygone events and especially about people. It’s a performance not to be missed, and one that is sure to leave a lasting impression in the minds of those who are privileged to witness it.